ESPACE COURBE(T) 2.0: Lesprit Courbet en aparté ! (French Edition)

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We'll publish them on our site once we've reviewed them. Item s unavailable for purchase. Please review your cart. You can remove the unavailable item s now or we'll automatically remove it at Checkout. Continue shopping Checkout Continue shopping. Preview saved Save Preview View Synopsis. Unavailable in Russia This item can't be purchased in Russia. Et le travail continue. Ressemble-t-elle pour autant au chaos? The artist Ben also came to work at the Abode. And the work continues.

The Abode became porous to the world, and News travels through it, penetrates it…But does that make it resemble chaos? The Abode has been burnt, sections were turned to charcoal black like the after effects of a disaster. It offers the eye what other exhibition rooms hide and gives a view of art as something living, part of our everyday lives.

C est dans cet espace hors cadre, que E. Au contraire, il se met en permanence sous le regard de celui-ci. La dispersion qui trouve son sens au creux du juridique est celle du partage du corps. Tous les jours, E. The only double we generally accept is that we see reflected in a mirror. Yet, imagine that a flash suddenly brings it to life and the thought is unnerving.

Nothing then remains but the substance, the originator, the individual who produced the first impulse. Leaving judges to take on the responsibility of enshrining his existence in law, that of an individual under legal control and his other self, its mirror image, his deepest inner part, who, of course, they could never control, E.

He lived with dark ways residing in his flesh, he threw his whole physical being into his secret quest, experiencing dangers at the surface of his emotions and bringing the infinitely sacred to the surface of the legal. It was in this undefined area that E. So films, like referees, play the role of witnesses, and at the limit of the impression made by the body in reality, their single viewpoint is duplicated as it is bounced back to them.

Between them, with neither god nor master, but always seeking meaning and direction, walk his flesh, his thoughts and his relationship with society. It is in the multiplicity of images, their accumulation over the time that actions last, that he deconstructs and reconstructs himself.

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For his approach is utopian. By in effect questioning the position of the individual facing the legal system, the news and economic, political, social and religious groupings, he reveals what is possible and the networks that can give him genuine freedom to imagine the world. It is difficult though, in this day and age, to take side roads in all innocence. Finding reasons to hope then becomes an impossible battle. However, in choosing to become a legal guinea pig, a laboratory animal to be dissected, he did not in any way allow the law to restrict him.

On the contrary, he put himself under its constant gaze. The freedom he gave himself was still only that of the freedom to weigh up the tiny part where it could continue to function within himself. As Cain under a staring eye constantly on watch from the shadows of the tomb, he thus moved forward, reflecting an image whose strength was to lie in transgression and thus in humanity.

This picture of life under legal guardianship can only belong to tragedy. Indeed, to think of yourself as experimental terrain implies a huge degree of honesty, so it is to be expected that this initiatory chapter will be written with savagery. If we were verging here on the limits of the law and propriety, perhaps all that would be left would be an appalling vacuum. He believes that only suffering is capable of sublimating his actions, so it rushes hither and thither, from the foot of his bed to the entrance of his domain.

It is suffering which breathes a form of the sacred into his journey, which puts a price on his Redemption. The dispersion which finds its meaning in the emptiness of the law is that of the body divided. The dimension of this course is necessarily Christian. Suffering, sin, morality, all the ingredients of a high mass are scattered along a road which refers endlessly to the Stations of the Cross between damnation and eternal bliss.

Under the omnipresent eye of the judicial system, he wandered and fragmented himself as a strategy for survival. Geographically he escaped, not his physical self but his morally responsible double as laws define it, legal worlds within legal worlds. Yet, from one country to another the law is changing and is being modelled on patterns established as the result of history, culture and politics. Travelling the world selecting such diverse definitions could only result in his defining himself on the most essential criteria.

Moreover, as he stresses, the Internet continues for him to be a metaphor of the divine, an agora of ethers. The more rigid the framework he imposed on himself, the stricter the rules, the more he could hope to escape. He has yet to take his body to the limits of that which perceives it. Ultimately, however, the process will be the same as with his legal body, verging on complete dissolution in order to become nothing more than a rite of passage. Talking to others, changing body and sex, he at once placed himself as someone privy to the ways of the initiated. There are codes governing this area which give meaning to the act.

His legal body autopsied, disposed of, his sexual body lost in multiple facsimiles, there remains only the shadow of God to answer some fundamental questions and reveal the truth.

The spiritual and social fabric he inspects is as ordered in what is revealed as what is seen paraded in the full light of day. He puts a fundamental problem to each of us: Chaos, it is well known, was the beginning of everything, and at the limits of disorder, E. Thus the crucifixion is a symbolic icon that suits him. With the Internet, he has, in short, found an appropriate way of functioning which echoes his life. Here geography is blown away, the legal system is at a loss, being everywhere is the norm and the network offers a new structure for the social arena. This is said to be a new utopia which will at last make it possible to believe that the world can still, if not change, at least dream.

He is one of its initiates and, in this game, he understands more quickly than others the full significance of this new arena. The Internet redefines the individual and the role of the author in a mass of constantly shifting information. In a virtual world, it is still the "I" who can fight best. My answer is YES! Real perfect steel cubes emerging from the ground.

Each one of them shall reveal a lost civilization or territory. The genitor that I had become was now being forced to kill its creature in the name of Reason of State and conformist town planning. In my head, I heard Vincent Van Gogh screaming: From the mad people he met he retained the importance of the written word and the beauty of their thoughts. According to Agenben, "the Contemporary artist is one who dares to look straight at the dark beam of his epoch. In , when I came of age. Golgotha is also in my eyes a cathedral of light. Damnation by madness is transmitted through the genes; three generations of Ehrmanns have carried this heavy load.

In the darkest night after the last humans have left, we see, far away, on the dark path of madness, a divine light. There are 99 sentinels, each made of crude 10mm steel total of 50T! And some are abandoned to Mexican ivy. They are the three bodies on which the alchemist will work. Ces trois corps sont le soufre, le mercure et le sel.

Le triangle de point est aussi la marque des philosophes par le feu. The triangular point is also the mark of the fire philosophers. The equilateral triangle resting on its base with its three points flat on the ground is the symbol fire, one of the four elements with which the alchemist works in the laboratory. It represents strength, beauty and harmony. These 99 Alchemical Sentinels are the guardians of the shrine that is the Abode of Chaos.

Cette installation se nomme: So once again it looks like the Abode of Chaos will be a gigantic building site for nearly a year. Started in , work still in progress. Excerpt from the "99 Totems Initiatiques" mm raw steel Each Totem provides a key of reading of the 99 words and traditions that define the Abode of Chaos transmutatIon.

Marc had just graduated from art school and had a thousand projects in mind. In this way One is made from man and woman. Some of them such as the London attack were painted immediately after it happenend.

Calaméo - OPUS IX: Abode of Chaos / Demeure du Chaos

These faces always scare our visitors even though they have already made the covers of Time magazine, Figaro magazine or the Economist. Following this line of reasoning, images have the capacity to make us create analogies.

GUSTAVE COURBET JEAN DÉSIRÉ GUSTAVE COURBET DOCUMENTARY

Through French eyes, the romanticism of ruins is glocal: I remember this one particular photo taken in the London subway system where the crowd wanders through its tunnels. This picture will also grace the covers of all international press. Through a profusion of comments from our spectators we can attest that uncaptioning gives the images its lost occult drama.

The Abode could very well be a real time press agency, a witness of this century, where one can read through a flow of art works, the delegendized history. This journey is atypical and constitutes alone one of the artistic approaches of the Abode of Chaos. Tarik Noui Onward legions in scattered ranks on the threshold of the living To make it livelier.

Desire that bounces, like a moth around the abode of order. Desire like a bird of prey injured a hundred times against a window that ends up breaking it. Desire and its love and blood ritual begs for the nerves of reality. It is also when we look closer Women with handfuls of waste Running from the degrees of knowledge Because disorder is needed in these hands As an answer to the world. Chaos Chaos a word that chants the practice of disaster in the convict s mouth. Let s negociate our souls… We shall see after for the revolution. During his stay in Andalusia, Eugene Canseliet was impressed by this macabre gem of vanitas art.

Fear them not therefore: Dear Brothers, I thank you most sincerely for all the love and work with which you have supported me in my ministry and I ask pardon for all my defects.

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With regard to myself, I wish to also devotedly serve the Holy Church of God in the future through a life dedicated to prayer. The last artistic installation that I created in situ for the Abode of Chaos in consisted of 9 giant Vanitas measuring 3. This installation has 9 rules: The second rule states that each Vanitas must be located in a part of the Abode of Chaos where events of a rare emotional intensity have occurred.

The third rule is that they must be positioned and adjusted in accordance with the underground sources that run through the Domaine des Sources, otherwise known as the Abode ofChaos. Five other rules are only known to insiders of the Abode of Chaos. The Vanitas are also a tribute to my teacher, Master Fulcanelli. Il fallut donc rechercher un autre lieu pour y construire un temple.

Elle comprenait, outre les Lyonnais, des Suisses et des Allemands. Histoire du Lyonnais par les textes. In , the Archbishop of Lyons, who acquired Oullins, forbade Protestant worship there. The temple was built near the Impasse de la Croix and the portal was still visible in the last century. The first service was celebrated on 12 August Editions Au Jet d Ancre. On this topic, see the excellent work of Odile Martin: Chaos is a government stealing our bodies; It is the uncertainties of powers.

Chaos is born is the interstices of a world under control; It is order that creates chaos. Each time I go to the Abode, I am moved. We set eyes on the chaos, and then plunge our fingers, hands, arms and the rest of our bodies, because it is impossible to remain just a spectator. In effect, we commune with signs, images, volumes, words, sorrows, shapes, forms and formulae. When we enter the Abode, we are part of the process. We are exploring the veritable heart of Chaos, eyes wide open, search for bearings amidst all that heavy metal, all those symbols, all those faces and all those sculptures that overcome us, overwhelm us, jostle and disturb us, flooding us with light and blackness.

Throughout my life I have travelled a long road lined with tombs, from catacombs to necropolises. I dug up some mummies for a serene, magical and spiritual step into the heart of Chaos. F Lodge Orient de Lyon ". Painting at the front door of the Protestant Temple, in the heart of the Abode of Chaos. This artwork provides a total immersion into the deep internet and the bowels of the Abode of Chaos, especially throughout the existing underground galleries of the Protestant Temple.

Elle permet de porter ce conflit hors du commun devant les Juridictions Internationales. En , le combat judiciaire historique: Less than a week later. On 15 December , The Criminal Chamber of the Supreme Court, in the context of a second appeal, ruled that the 4, works of art forming the body of the Abode of Chaos, founded by the artist thierry Ehrmann in , should be destroyed.

It also doubles as a residence for a number of artists. Case law on Article 10 shows that the court has frequently ruled against France. As such, the petition to save the Abode of Chaos from destruction is continuing stronger than ever before. Malraux doit se retourner dans sa tombe. And let me tell you… there was 12 pages of nonsense like that and worse! In fact, to be honest, I truly believe that I ve never seen written as deadly a text on the conditions of existence of artworks in France. Malraux must be turning in his grave. Again, I ll make it short: Ehrmann, you can express yourself inside your home; but please do not disturb the public or the eyes of others.

I have already said and I repeat… the Supreme Court is the history of art, and this Court has already judged the Abode of Chaos, a decision that the Grenoble Appeal Court may be not able to accept with humility. Ultimately, this process reveals a French society in agony, worn out by a deadly standardization where any form of expression or artistic creation is considered a felony or a misdemeanour.

I therefore call for resistance. Reactionaries, enemies of the Abode of Chaos… do not rejoice too soon! I will make hell for you! On lit par exemple sous la plume de Tzara: By feeding the debate, the petitioners have merged themselves with the opus, just like its detractors… you were warned, the Abode of Chaos is hungry! They all created shocks in the history of art and thought. The History of Art literally abounds with examples of this kind. Existing beyond controls, liberated from constraints, it completely circumvents the marketing and commercialisation of art.

Are these not the two diametrically opposite faces of one and the same artistic coin: The offices of Artprice and Server Group are deconstructed just like the private quarters of the Abode of Chaos. Continue and you see references to Dada resonating like calls to a gathering: After the words, the images of faces painted on the walls come into view. If we publish the above report, it is to indicate just how ridiculous the aberrations of the ultramoderns can be.

It is artistic bolchevism. Precious liquids, metamorphose Probablement une expression inconsciente de mon besoin de changer de peau. Le premier est un avenir spirituel. Some have evoked the creation of a new religion… Quite a difficult task after the death of the nietzschean God. Idol, Icone, yes, just as a work of art can be.

But on the other hand, it is true that the Abode of Chaos was often able to anticipate some events, to foretell, see and foresee. A sort of Pythie or Sybille of Cumes, a mythological character able to make us, poor mortals, see our destiny. It is also interesting to briefly review metoposcopy.

This art of prediction by examining the facial wrinkles, takes on a new dimension within the Abode of Chaos. Video has become a natural extension of a global thought process on our world and is a most appropriate tool. Cyber art is slowly emerging.

OPUS IX: Abode of Chaos / Demeure du Chaos 1999-2013

The broadcasting has now been launched. Un gamin se balance comme endormi, contre un parapet. Un filet de bave coule sans discontinuer sur son justaucorps. Impassible, la foule le contourne, sans lui accorder la moindre attention. On se pousse, on se bouscule. Le geste provoque une orgie impromptue. Leurs orbites vides saignent. Far away, thick columns of black, greasy smoke rise over the Croix Rousse heigths, where it has not stopped burning for the last three days.

The atmosphere is dripping. On both sides of the river Rhone, scenes of hysteria can be seen as far as the eye goes. Wrinkled and livid, skeletal old men ripp off their hair by fistfulls and scratch their flesh until bleeding.


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A smile lights her up. Tears of joy roll on her wastedface. The hospital incinerator is running full speed. The most exalted ones go as far as declaring it the ground for a christic renewal. Seemingly asleep, a child is rocking against a parapet. The crowd bypasses him, undettered. People push and shove each other. Snaps of trampled faces, torn out by pain. Mercy, let us reach the spring! We want the water!

Let us reach the holy water! Particles float in the air, menacing in its softness. At precisely 7 p. Excitation is at its height. Bursts of chaos, scenes of trance, ruts. A young woman tears up her clothes, offering herself to those around her. Her gesture triggers a surprise orgy.

Men obey the Beast. The audience wonders about his gesture. Few moments go by. The shock wave jostles all living creatures on its way. Among the masses of people in front of the gates, a mother is vomiting long jets of scarlet and pasty bile, still grasping her two children. The ground at their feet is lined with her dejections. Their empty eye sockets bleed. Blasphemous, the litany rises high in the night, the damned crawling on the asphalt solemnly join the chanting. A funereal trance creeps over the crowd, ondulating to the rhythm of lament. The transmutation takes place.

And in the first light of dawn, a new world is delivered, wet and soiled, from the gaping crotch of nothingness. A la limite, c est eux qui l ont fait, mais c est nous qui l avons voulu. Or nous savons bien qu il n en est pas ainsi. None of these ends of the world has come to anything, but this in no way discourages prophets announcing that the end is nigh. For all that, it is a necessity for man and the societies he has constructed through the centuries.

This approach concerns theology and philosophy in relation to recent times, the most recent accidents in the history of the world, as described by the philosopher Paul Virilio, or the final destiny of the human race, commonly called the end of the world. Because this superpower, through its insufferable power, has fomented all this seething violence around the world, and thus the terrorist imagination that inhabits us all without our knowing it. It is almost as though they did it, but we wanted it.

If this is not taken into account, the event loses all its symbolic character and becomes a pure accident, a purely arbitrary act, the murderous fantasy of a few fanatics who would then only need to be eliminated. But we know very well that this is not the case. Without this profound complicity, the event would not have had such an effect, and in their symbolic strategy, terrorists undoubtedly know that they can count on this shameful complicity. This goes far beyond the hatred of a dominant global power felt by the disinherited and exploited, by those who have fallen on the wrong side of the world order.

This malicious desire is in the very heart of those who share its benefits. An allergy to any definitive order, any definitive power, is fortunately universal, and the two towers of the World Trade Centre totally embodied this definitive order precisely through their twinship. No need for a death wish, a longing for destruction, nor even a perverse effect. And it is an accomplice in its own destruction. Endless disaster movies bear witness to this fantasy, which they express, obviously, through the image, drowning everything in special effects. Et elle est complice de sa propre destruction.

Ce qui en soit est rassurant. Eschatology involves concepts like messiahs or messianic periods, the afterlife and the soul. So, with my eye as a visual artist, I found it quite natural that Eschatology should be one of the guiding principles behind the birth of thousands of works within the overall corpus of the Abode of Chaos.

While the approach of the end of time is a common, universal idea, it takes a thousand different paths depending on history, cultures, continents and ethnic groups. What more instructive approach for deciphering the soul of a society could there be than its conception of its own end? It is in that final tragedy, real or fictional, that humankind and its lost genius are best defined.

With an approach to the end of the world artistically treated by the Abode of Chaos, by sounding all the major arts, I incite my visitors to think about our collective and individual future, for instance by making an inventory of everything that should be preserved, everything that should disappear for ever, and perhaps more secretly, everything we would like to see destroyed.

There are many different ends of the world in as many religious texts concerning the 21st Century, with major ecological or scientific disasters, Chernobyl being one of the first signs. This artistic approach, expressed through thousands of works, is a revisitation of a huge range of eschatological representations, and brings to light many ends of the world rather than the end of the world.

Through our standpoint as Westerners, we have established the claim of being able to precisely diagnose imaginary ends of the world a long way from us in space and time. Each epoch gives its definition of the end of a world that it sees as cyclical. I am tempted to write that ends of the world do not only form part of our history, but are also a fundamental element in the universal psyche in liberating us from the ancient world.

The Latin concept of the Tabula Rasa, which I find very appealing, is a speaking metaphor because the Tabula Rasa was the tablet on which the Romans wrote, then scraped with the flat end of the stylus to erase everything. Aristotle thought that the mind lacked any inherent ideas, and that all knowledge was derived from experience.

This philosophical concept is useful in understanding Eschatology, because wiping the slate clean of the past by wishing for or fearing the end of a world is necessary for the human race to move forward. Eschatology or the end of a world is a cathartic approach designed to awaken the repressed traumas that have caused disorders, thus generating an emotional charge that brings healing release.

In psychoanalysis, this release is known as abreaction. Which is reassuring in itself. For the first Christians, the end of the world meant the hope of a divine catastrophe that would vanquish the evil in the world and reward martyrs and good men. What is entirely new is that over the centuries we have acquired the ability to impose our own end of the world through our blind science, which claims to be the prerogative of the gods.

For example, in Upper Egypt, the great fear was that the sun would never rise again. The sun was the god Ra, born of the original Chaos that created other major gods. In Hinduism, the ages of the world, as described in traditional Hindu prophecies Puranas , say that the world will return to Chaos, then an avatar will appear who will establish uprightness on earth, and the human spirit will become as pure as crystal.

For Heraclitus, the end of the world and its renewal are one and the same thing, and proof of the primacy of Chaos. The rebirth of primordial matter Prima Materia is the next stage after the end of the world, according to Heraclitus. The Romans, as heirs to the Greeks, seized upon the idea of the ages and the sense that humanity was experiencing its ultimate decline.

This thinking can be found in Virgil and Horace. For the Romans, the end of the world was to take place at the end of a Great Year starting the founding of Rome, whose length was announced to Romulus. Their relationship to time was very particular, because it possessed a highly advanced astrology very different from those of other civilisations.

The Mayas and their calendar are fascinating because they are no longer there to provide answers. According to his calculations, 21 December would be the date of a great renewal. As the Mayan civilisation is no more, we do not have any real answers, but we do know that for the Mayas, the end of a cycle, while still a source of fear and a terrible transition, was not always a disastrous event. Their knowledge of time was certainly remarkable, particularly in the studies they made of the cyclical movements of celestial bodies.

The Mayans believed that they could understand the effects on human existence of these cosmic progressions, and using past observation as a basis, predict the future. Their scientific vision was linked to a religious belief in the divine influence of the cosmic forces on the daily lives of people. There are thus a thousand ways of understanding this fateful date. In the Eschatology of the Abode of Chaos, I regularly touch on the idea of natural disaster with regard to the history of art, such as the flood and the anger of the gods.

Naturally, the Revelation of St. John is at the heart of my work. Christian Eschatology is full of prophecies. One of them, on which I have been working for nearly 30 years, concerns those of Saint Malachy, the Prelate of Ireland, who recorded brief mottoes forecasting the succession of Popes to the throne of Peter. In a later prophecy, the th, we find the name Pietrus Romanus Peter the Roman.

This edition contains the following: After these, the City of Seven Hills will be destroyed, and the dreadful Judge will judge the people. Even if this word initially hard for the reader to accept, the revelation still consists of the end of a stage, through the very fact that it brings with it something new, hitherto hidden or unintelligible.

The historical origin of Islamic Eschatology, as described by the prophet Mohammed to his companions, is similar to Christian Eschatology. Some works in the Abode of Chaos on monotheistic religions evoke far more stressful visions of temporality: Time is linear, it progresses, and is gradually consumed. So it will meet with an end, which will make the world disappear for ever. The golden age that is reborn from this destruction will thus be eternal. We need to understand that in many primitive civilisations, the end of the world is inseparable from its rebirth.

A number of engravings in the Abode of Chaos bring to light the three great Chinese spiritual systems: Confucianism, Taoism and Buddhism, where the presence of ancestral legends resurfaces, like the anger of the god Gongong. We have also cautiously addressed Zoroastrism, which is the basis of Persian religion.

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We have also swept away the great fear of the year , which can be compared with the period after which the Parousy is to take place, defined as the Second Coming of Christ, which precedes the Last Judgement and the end of time. We have also studied the writings of the Cistercian monk Joachim of Flora, who sought to interpret the Book of Revelation as a mystic rather than as a theologian. The Renaissance and the Reformation ended the mediaeval period by proposing a new vision of mankind opening onto the modern era and the Age of Enlightenment.

Despite this enlightened and rational environment, the Europe and North America of the 18th Century, now emerged from the Renaissance and right in the middle of the century of Enlightenment, attempted to free themselves from this end la science. Un des tournages historiques de la of the world. Interpretation became even more complex with the Industrial Revolution in the 19th Century, which gave rise to a passion for science, but also fear of it. Would Man be able to control the sciences he created?

From the Romanticism of ruins to the birth of science fiction and then anticipatory works, including a new look at the Apocalypse by evangelical groups, the 18th and 19th Centuries endlessly evoked the idea of the end of the world. One of the historic film shootings at the Abode of Chaos was This rather concise text only gives a brief overview of 30 years of constant thinking, and 13 years of the artistic production that has grown up in this Sanctuary, the Abode of Chaos. This short article explains the reason for creating the Abode of Chaos, and why it focuses on so many dark subjects: During my various wanderings, speculative as well as operational, I have come to realise that the end of the world, or the end of a world, is a necessity in human destiny as the hidden driving force behind our anxieties, our omnipotence and our mystical questionings.

Fiction is now absorbed by reality, and perhaps while I have been writing these lines, the end of our old world has already begun. Progressivement, quelques indices signalent le centre tellurique: Trouver une posture sereine. After climbing the hill, you discover a scene as pretty as a picture. Wandering through the little streets of the village is like marking off various certainties of our civilisations: We could almost forget that we are moving within the heart of a contemporary staging of the olde worlde.

These are the last reassuring landmarks of an unchanging heritage, constructed of invisible, implacable logic, containing a sulphurous Abode, a mad, inconceivable, heretical project. Gradually, a number of clues indicate the telluric centre: It prepares for the unknown, recalling fragmented images picked up here and there, full of subversive promise. Whoever wanders around these regions without reason will be sure to find some soon. In the background can be seen a myriad acid dimensions throbbing with vitality.

Barbed wire fencing militarises bodies. Cameras are trained on like imitations ready to pounce. The rite of passage to have the privilege of immersion is a substitute for confession. The stimulus of curiosity holds you in its grip, and would make you sign any kind of pact. The only one worth anything is admitting that you want this hidden journey: The silent groaning of disembowelled iron scrap.

Saturation of the senses; endless multiplication of prisms. The eye panics through its inability to absorb this jumble. The impulse of curiosity is drawn into the labyrinth, without knowing which details to dwell on, what scales, levels or planes are best accommodated. Minuscule symbols engraved in a thousand nooks and crannies. Metal seething with impotence. Scrap metal spread everywhere in invisible clusters. Have they found refuge in this indescribable ark? We calm our agitated breathing. Find a tranquil position. The desire for control makes it essential to pinpoint a few landmarks: Motifs repeat themselves or replace each other.

Alchemical symbols beyond what is knowable. An overload of objects resembling corpses. The alteration of figures blazing elsewhere: While browsing haphazardly, we are assailed by a multitude of disturbing visions: Gradually the anxiety of our initial commotion dies down, and a peaceful frame of mind takes over, inviting contemplation. Enchanted parentheses are suspended. What spectacular backstage world have we ended up in? In the end it is really from our subconscious that the primordial resonance has emerged: The vices and virtues of an immersive art: Especially as, with the spread of tourism and interactive media, we have developed a taste for delighting in environments that can receive us in all our vulnerability, while challenging us with something completely new.

One of the vital aspects revealed by any thought of immersion is that the power of the immersive experience is based on the discrepancy between the original, common world and the new universe surrounding us. The conditioning born of routine conditioning clashes with an environmental otherness that demolishes all the obvious facts we have acquired, and takes us out of our comfort zone.

Faced with a context that sucks us in, a thousand questions spring up to establish which rules govern it, which ways of reasoning still or no longer apply, how to behave, and what attitude is needed to best adapt to this transformation of the self brought about by the ambient environment. Our ability to adapt is awakened, and endeavours to create bridges and forge links, to repatriate the unknown into zones that we can control more effectively. Curb Your Enthusiasm - Le Golden Gate, doc. Pour cette 9e 39 ans.

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